Micro Salon Italia 2014

 

The 2nd annual Micro Salon Italia took place this year a few weeks after the original Paris Micro Salon. Staged at Rome’s Cinecittà Studios, which is now its usual venue, it attracted  Italian and leading international manufacturers, distributors and rental companies. Everyone supported the AIC in expanding from last year’s Stage 1 to Stage 1 and 2, with a total of 3,000 sq mt of indoor exhibitions and a large outdoor area.

Even though this year’s political and economical situation in Italy has probably worsened since last year, Micro Salon Italia was a total success with over 4,000 visitors between March 7th and 8th.

Students from Italy’s Cinema Schools attended: Centro Sperimentale di Cinematografia, Istituto Roberto Rossellini and NUCT. Cinematographers, producers, directors, camera operators, assistants, gaffers, grips, and television crews looked at the new gear displayed in 42 booths. They met top Cinematographers like Vittorio Storaro, Giuseppe Rotunno, Luciano Tovoli, Gianni Mammolotti, Romano Albani, Giuseppe Pinori, Adolfo Bartoli, Paolo Rossato, Vincenzo Condorelli and many other AIC members.

Among the new announcements at Cinecittà Studios, ARRI had the Amira in its final form – as it will be shown at NAB 2014. ARRI also showed the Alexa, Zeiss zooms, CP.2 primes, L7 lights and the new Duppy LED studio diffuser. K5600 showed the new Alpha 9-6 kW with a 450mm fresnel lens; CANON had the Cinema EOS 1D X and XF 305 – XFA25, C500, C300 & C100, the Legria mini X, lenses etc.

Panalight displayed the Alexa XT full frame, Red Dragon Carbon Fiber and a full set of new Panavision Primo V series lenses, specifically designed for 35mm digital cinema cameras and the PVintage series, plus Leica’s Summilux, ZEISS Master Anamorphics, and Angénieux’s 48-580 T4 Anamorphic. Outdoors was Panalight’s helicopter with remote heads and Scorpio Arm truck and OB van, Hydroflex blimps. D-Vision / Movie People had a Russian Arm, brand new generator truck with Daylight fresnels, a crane and their MovieFly Octodrones. DBW had a new generation Moviedrone that flew around demostrating its versitality with a SONY F55 4K.

Daniele Nannuzzi, AIC President (Associazione Italiana Autori della Fotografia Cinematografica, Association of Italian Cinematographers) told FDTimes: “We are proud of this extremely successful show and of the number of visitors this year… incredibly, AIC’s Micro Salon Italia welcomed 1,500 more visitors than the original Micro Salon in Paris this year…”

AFC Vice-President Richard Andry, from Paris for the Roman opening, congratulated Daniele Nannuzzi, Davide Mancori and Simone Marra for their great effort in making this Micro Salon Italia an outstanding event. Attendees and exhibitors alike agreed it was an extremely productive show that should stay on the stage of European Cinematography events.

Various presentations and seminars were held at the AIC museum that houses a staggering array of cameras, lenses, lights and tripods. In this lofty atmosphere one could not fail to feel totally inspired by the history and craftsmanship that Italian Cinematographers have tirelessly created to achieve with their images.

The SONY seminar was on 4K, Movie People’s presented the Russian Arm, ARRI the Amira, Trans Audio Video was on CANON, ADCOM and BLUTEK broadcast products, Mike Wagner on ARRI LED technology and TIFFEN’s filter expert Carey Duffy presented his 34 minute video on TIFFEN’s diffusion filters shot in 4K, designed to embellish digital capture formats with a tool that cinematographers have used since time began–Glass!

Carey Duffy, who loves Rome, told FDTimes “The passion for Cinematography was in the air and in this hive of activity. Attendee’s strolled around viewing and questioning exhibitors about their products…and if one wanted to be more adventurous, a stroll around the studios was a must. Behind the exhibits lay an equally magnificent studio complex boasting magnificent open air back lot sets that include the Roman Forum, Italian Medieval Assisi and turn of the century Broadway streets. Not forgetting the eerily recently vacated back lot set of Universal’s blockbuster feature film “Everest” directed by Baltasar Kormàkur, with Sal Totino, ASC as cinematographer, starring Jake Gyllenhaal and Josh Brolin.”

On Saturday afternoon at Cinecittà Studios’ packed Sala Fellini, Vittorio Storaro, AIC, ASC, flanked by his co-authors Luciano Tovoli, AIC, ASC and Daniele Nannuzzi AIC, presented his latest book “Art of Cinematography” giving a watchful audience an idea of the Storaro meaning for “…a great visual experience…a tribute to 150 Cinematographers from Cinematographers…that underscores the fundamental place of the Cinematographer in the creation of the Seventh Art.”

The presentation was followed by Visual Effects samplers made by art director and VFX supervisor Greg Strasz for films like “Anonymous, “2012”, “White House down” and “The Rich”.

Just before the closing ceremony party buffet, 91 year old Giuseppe Rotunno, the famed Cinematographer of Luchino Visconti and Federico Fellini was presented an AIC Honorary Membership Award. As a nugget, Rotunno screened an unreleased short film, directed by his wife Graziolina Campori in 1950, his first work as a Cinematographer.

Suggestion for Micro Salon Italia 2015: AIC should provide personal badges with name, profession, or company. This would be a good way to meet new colleagues and would also help exhibitors, in consideration of the number of young people in the industry.

Rome, March 2014. JLG

Flickr Slideshow and Gallery:

http://www.flickr.com/photos/fdtimes/sets/72157642459602105/

 

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Lentequip USB Charger for iPhones

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…And not just iPhones. How many times are we on set, desperately running low on power for iPhone, iPad, camera, GoPro, RED Remote—all those essential gadgets that charge with a USB cable?

But we’re surrounded by camera batteries. If only we could plug into one of them.

Lentequip’s iOS compatible USB charger connects to any 8-32 Volt DC power source and will output regulated 5 Volt DC  with a maximum current of 2 Amps. This means a quick charge.

There are two models. You can order a version that plugs into the P-Tap outlet on your battery, or a version for a  3-pin Fischer ARRI-style RS accessory connector. The input of the charger is protected with a fuse. The output is both short-circuit protected and also incorporates a safety clamping circuit to ensure that your devices remain safe. A green LED indicates that the output voltage is present. The indicator can be seen through the translucent enclosure, which measures only 60 x 35 x 15 mm (LWH).  The cable is 20 cm long.

Get prices and more information about various versions online.

www.lentequip.com 

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Micro Salon Paris 2014 Slideshow

It’s like Cine Gear in French, with fine food, flowing champagne, new equipment, and some gear we don’t usually see elsewhere. The 14th annual AFC Micro Salon resumed at La Femis Film School on Friday and Saturday February 7-8, 2014.

Article by Jean-Noël Ferragut, AFC, et Vincent Jeannot, AFC.

Photos by Pauline Maillet for Angénieux.

And here are 119 FDTimes pictures. Click on the first one to begin the slideshow.

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Aaton Cantar-X3

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Aaton’s eagerly anticipated new Cantar-X3 audio recorder premiered in prototype at the AFC Micro Salon in Paris.

This successor to the Cantar-X2 has a new GUI and display designed by Transvideo. It promises more inputs and tracks, has a water resistant and dust proof housing, and color-coded controls.

Pre-orders begin after NAB2014 for delivery later this year.

(Aaton is now Aaton Digital, and was acquired by Transvideo last year.)

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Half a Summilux-C at Westlicht

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Not yet a Leica Summilux-C cine lens owner?  Now you can get a cherished Summilux-C 100 mm T1.4 lens at a drastically reduced price. Well…er…half a Summilux-C lens. Place your bid at Westlicht Photographica Auctions for this cutaway model. Looking for a new look more outrageous than irreversibly sandblasting precious coatings off the fronts of your pristine lenses (may void warranty)? If you can stuff this factory cutaway into your PL mount and cover void with Blackwrap and black camera tape…well, let me know how it looks.

Look for Catalog number 217 under Leica Special Editions. Bids begin at € 1500 and you can place your bid online. Here’s the full description:

217. Summilux-C 1.4/100mm Cut-Away

Factory cut-away on Leica stand. The Leica Summilux-C lenses are a revolutionary new line of PL mount primes designed to deliver ultra-high optical performance for film and digital capture. These new T1.4 close focus primes use a unique multi-aspheric design and high-precision cine lens mechanics to provide unparalleled flat field illumination across the entire 35mm frame and suppression of colour fringing in the farthest corners of the frame with no detectable breathing.

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If you want to set your sights higher, the  NASA Hasselblad 500 EL DATA CAMERA HEDC used by astronaut Jim Irwin for 3 days on the moon is also being auctioned. Do I hear € 200,000?

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There’s much more: a wooden Ernemann, Arriflex S, lots of Leicas–you can download the full PDF catalog from Westlicht.

 

 

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RED Dragons in Paris

RVZ Rentals in Paris had their new RED Carbon Fiber Dragons at the AFC Micro Salon the other day. One was dangling from a MoVi and fitted with Leica Summicron-C primes (they cover the >34mm 6K image circle).

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Back at the RVZ shop, Samuel Renollet showed the Dragon with Leica mount and his Leica Noctilux 50mm f/1.0 Still Camera Lens.

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Back at the Micro Salon, other RED camera/lens configurations–below with Angenieux Optimo 45-120 T2.8 zoom and RED-WMD (Wireless Motor Driver)…

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Vantage Expands

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Peter Märtin and Wolfgang Bäumler in Paris

Vantage, the worldwide camera equipment rental house — as well as designer and manufacturer of Hawk Anamorphic Lenses — is growing rapidly. They are simultaneously expanding their Prague, Paris, and Berlin branches, as well as headquarters in Weiden.  Each expansion will add much needed space for current and future growth,  providing customers with even more spacious, state-of-the-art camera check-out areas and facilities.

We visited the under-construction Paris facilities 2 weeks ago, and caught up with Peter Märtin and Wolfgang Bäumler, Executive Directors, at Micro Salon in Paris on Feb 8. Peter said, “Our products and our service are world class, and our expansion allows us to continue that tradition wherever our customers need us.”

Paris

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Expansion in Paris: before and after

Paris is Vantage’s newest location and is situated in the northern media district, La Plaine St. Denis, with customer on-site parking and large loading docks. The loft-style building is light, spacious, and comfortable. Although the French office has only been open since 2011, Vantage’s success in this market required facility expansion. Alexander Bscheidl, Vantage’s Paris Director, said, “Space is golden, and our current renovation project doubles that space. The first project we supported in Paris was Taken 2, starring Liam Neeson. At that time, the crew was extremely happy with our testing facilities. Now, two years later, the first project that will use our newest space is the crew for Taken 3. It is funny how things sometimes come full circle.”

The addition increases the number of camera prep bays to 15 and adds a 130 square meter studio for product shots and costume, hair, and make-up tests. This provides the Paris office the capacity to support large feature films while reducing logistical challenges and saving customers time and money.  These renovations are being overseen by Alexander Bscheidl and will be completed by April. His goal is to provide customers with the best possible facilities to make every visit a pleasant one. And the industrial size expresso machine is awesome.

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Alexander Bscheidl: “The new addition will double the current size of the facility by adding 600 square meters and transforms this location into an ideal camera equipment rental house for commercials and feature films in France.”

Prague

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Vantage has been serving the film community in Prague for 20 years. Its location in the heart of the city provides easy access to the historical district, parking, and loading. It has been praised by many Cinematographers who would rather enjoy the city than spend hours driving through traffic to test equipment.  Jindřich Čipera, the long-time Director of Vantage’s Prague office said, “Vantage’s decision to stay near the city center is the right one, and our recent upgrades greatly enhance the services we provide.” The addition centers on the creation of 3 new prep bays that provide crews with plenty of room for testing in a comfortable, modern environment. Some of the more interesting details include the installation of skylights and the removal of walls to create a lighter overall feeling that is seamlessly integrated into the current space. The renovations will be completed in April.

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Jindřich Čipera: “It would have been easier to relocate, but the move would have forced us further away from the center, so we took the more difficult route of enlarging our current location in order to continue to provide our customers with a convenient location that gives them fast and efficient service.”

Berlin

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Andreas Teichner, the Senior Director at Vantage, project designer and coordinator for Berlin said, “Now that we are well established in both Prague and Paris, we have turned our attention to Berlin and the film renaissance taking place here. More and more international feature films and commercial productions are based in Berlin, and these are the types of projects where Vantage excels. We knew we had to increase our footprint in Berlin as demand has grown, and the only way to do it right is to move to a new location and increase our staff. That is exactly what we are doing.” The historical building is being specially tailored to meet Vantage’s needs in Berlin and provide a state-of-the-art facility with plenty of room for equipment and personnel. It has great direct access into the city and highways, lots of parking, and easy loading and unloading opportunities. According to Teichner, the renovations comprise a 4-times increase in size, add multiple prep bays, provide gorgeous facilities, and have wonderful amenities customers deserve. The exact location will be announced shortly, and the move should be completed sometime in May.

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Andreas Teichner: “When we saw the building, it was love at first sight. It is simply perfect.”

Weiden

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Vantage’s world headquarters and design atelier is located in Weiden, Germany. Every day is busy as guest cinematographers test the latest equipment, developers put the prototypes through their paces, and lenses are assembled with care and precision.  The spirit of the company is palpable in the buzz.Peter Märtin said, “Our products and services dovetail with the needs of customers. Change is consistent, and we need to be both nimble enough to react to it and strong enough to influence it.”

The company expanded operations in Weiden in 2001 and again in 2009, adapting and growing with demand. This cutting-edge facility is expanding once again with the addition of a brand new, two-story building that will house the Executive Administrative staff, Worldwide Accounting Office, and several Research and Development Offices. The new building directly connects to the recently expanded manufacturing section, which doubled in size in 2013. That previous renovation saw the installation of a state-of-the-art manufacturing center for the newly developed, patent-pending filter technology used to make Vantage Bethke-Effect, Vantage Blue-Vision EXP, and Vantage White-Vision EXP filters. The new addition will also provide crews prepping in Weiden with a new area that is roomy and quiet. It will also give crews more privacy by providing access to a different street away from main entrance.  This modern building will be finished in September.

Wolfgang Bäumler said, “Our new, larger R & D offices located near manufacturing give us the ability to move our ideas from the drawing board to production in an extremely efficient manner, allowing us to react quickly to market demand. We bring together the highly technical and complicated aspects of lenses and combine them with the aesthetic qualities every cinematographer wants. We listen to our customers’ wishes and needs, and our efforts are driven by their dreams.”  

The physical expansions are only part of the story. By September, ten new job positions will be posted as well.

All of these exciting new developments document the smooth, continuous expansion that Vantage is seeing in multiple markets.  When asked if any other plans were in the wings, Peter Märtin replied, “We are just getting started.”

 

 

 

 

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Panasonic 4K 35mm VariCam

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Panasonic held a pre-NAB press conference today in New York. Although a nuts and bolts camera was not handed around, we were enticed with this image of a 35mm 4K VariCam that will be shown at NAB 2014.

Steve Cooperman, Product Manager, outlined some of the main features:

  • 35mm MOS sensor
  • PL mount
  • Dockable / detachable recorder can be tethered by cable to body or attached.
  • Records in a number of formats– including 4K, UHD, 2K and HD.
  • AVC-ULTRA codecs for 4K
  • Handles 4K RAW — not sure if this is internal or output.
  • 4096 x 2160 (17:9) 4K image capture
  • 14+ stops of exposure latitude
  • shoots up to 120 fps
  • OLED viewfinder with optical eyepiece magnification
  • Uses Panasonic’s new expressP2 card for high frame rate recording.
  • Camera has 4 card slots, for two expressP2 cards and two for microP2 cards.

The 35mm 4K VariCam models will launch in Fall 2014. Price was not given.

Prototypes of this camera were seen at IBC and InterBEE 2013 under glass:

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Canon C300 AF Upgrade

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First Canon introduced CMOS dual pixel phase-detection autofocus on its EOS 70D Digital SLR camera. Then it was announced as an upgrade for the C100. Now, continuous autofocus will be available as an upgrade on the EOS C300 with Canon autofocus lenses.

Dual Pixel CMOS AF works like this. All the available imaging pixels work both for imaging and phase-detection at the same time. Each pixel is made up of two photodiodes whose outputs are continuously compared. If there’s a phase difference, circuitry smoothly corrects to keep the image in focus. Of course, you need to use a Canon autofocus lens in auto mode, and tracking is done in the center of the frame. (20% of vertical and 25% of horizontal area.) This can be helpful when operating as a one-person band, running and gunning, for documentaries and probably wildlife wild hippo charging toward camera shots.

Canon says, “The Dual Pixel CMOS AF upgrade for the C300 camera supports continuous AF with all compatible Canon EF series lenses when shooting subjects positioned in the center of the imaging area. The technology involves complementary use of a contrast signal to achieve advanced autofocus stability that helps reduce the occurrence of loss of focus on a subject. Also included is an AF Lock which allows users to lock a focus point once AF is achieved and recompose the shot.  Canon Dual Pixel CMOS AF also nearly doubles the speed of the EOS C300 Cinema camera’s One-Shot AF function, which enables a DP to focus on a subject located at the center of the screen with the push of a button, a feature that is currently supported on 104 Canon EF lens models.”

An upgraded C300 camera’s menu will have two options for “AF Mode” – One-Shot AF and Continuous Autofocus. The AF Lock can be assigned to one the camera’s buttons. Press the button to lock the focus, preventing the camera from refocusing, and then press it again when you want to return to continuous AF. It’s indicated by a white frame that turns gray when you push AF Lock.

The Dual Pixel CMOS AF feature upgrade for the EOS C300 Cinema camera will be made available to users through an authorized Canon service center for a cost of around $500. For more information:  http://pro.usa.canon.com/EOSC300FeatureUpgrade

 

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Look: Cooke Anamorphic 40 mm

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Prototype Cooke Anamorphic 40 mm at T2.8. Photo by Jon Fauer of Cooke Optics Chairman Les Zellan taken at Micro Salon on Sony A7R with MTF PL to E-mount adapter. The beard is sharp, the skin tones are smooth, and there is remarkably no internal barrel flare from the desperately overexposed window. The shadow area retains detail. The pitch black area at far right remains black. Anamorphically funky and nice!

De-squeezed with Photoshop. Click on images for larger view.

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Cooke Anamorphic Tests

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At Micro Salon in Paris last week, Cooke Optics presented test films shot by John de Borman, BSC and Patrick Blossier, AFC. The Paris test is online on Vimeo.

The framegrabs above show some differences between a Cooke 75 mm anamorphic at T2.8 and a Cooke S4/i 40 mm at a T2.0 – 2.8 split. The Cooke anamorphic has “classic” oval bokehs (out of focus highlights), and the background seems less recognizable, more distant. Compare that with the spherical Cooke S4/i, with its rounded bokehs and more defined background.

Do you find the skin tones of the anamorphic slightly smoother and cosmetically silkier? The anamorphic shot also seems slightly less noisy (grainy), perhaps because it’s using most of the Alexa’s  4:3 picture area.

 

Anamorphic 2x on a 4:3 Alexa sensor uses a 376 sq. mm sensor area — approx. 21.20 x 17.74 mm (27.64 mm diagonal), which is 2570 x 2150 photosites.

Spherical Super35 2.39:1 widescreen (like the 40 mm Cooke S4/i above) on the Alexa uses a “letterboxed” 234 sq. mm sensor area — 23.66 x 9.90 mm (25.65 mm diagonal), which is 2868 x 1200 photosites.

Oh, and by the way, shooting 2x anamorphic on a 16:9 sensor of any manufacturer uses an image area of 211 square mm, and has a crop factor of 1.8x — because it uses less height and the left and right sides are “pillared.” So a 75 mm anamorphic on a 16:9 sensor camera will appear like a 135 mm.

 

An article on Cooke anamorphic lenses and a visit to the Cooke Optics factory in Leicester is coming in our NAB edition.

 

Credits for the Paris test:

  • Cinematographer: Patrick Blossier, AFC
  • 1st Camera Assistant: Maeva Drecq
  • DIT Julien Bullat
  • 2nd AC: Florent Bethelot
  • Producer: Danys Bruyere, TSF
  • For EMIT: Andrew Steele, Benjamin Steele
  • Post-production supervisor: Jean Delduc, Sylicone
  • Camera: ARRI Alexa XT (4:3 sensor)

Click on the images above to enlarge.

 

 

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CP+ Camera Show Japan

In addition to remembering Feb. 14 on our calendars as Valentines day, we also mark Feb 13 – Feb 16  for this year’s biggest Camera Show in Japan: CP+ Camera and Photo Imaging Show 2014 in Yokohama.

And it shows clear, that the popularity of this show grows every year. Last year, for the first time, a space for video and video accessories was reserved. This was experimental, because, after all, it was designated as a Photo Show. At the first day of this year’s show, the presence of professional video cameras could already be seen. Word had gotten around that this show was not just for still photographers anymore.

Unfortunately for the exhibition, on the second day, Tokyo and surroundings were covered with heavy snow fall. A week earlier,  Tokyo experienced its heaviest snowfall in 45 years — with a lot of transportation in and around Tokyo canceled. On the 3rd day, the snowfall was so heavy that the show organizers decided to cancel the show on that day, which fell on Saturday the 14th. The scheduled talk of US Magnum Photographer Steve McCurry was canceled as well.

With 62,597 visitors in 2013, the 2014 show had  42,203 total visitors.

The exhibit itself showcased the latest in cameras, lenses, and accessories — with models and event girls mixed in between. This is always the main attraction for most amateur photographers: to have a chance to get close to professional models and snap photos.

Seminars and demo shooting by photographers with models on various stages were a big attraction.

For a visitor who comes every year, it is very clear that the trend goes toward a hybrid of still and motion.

Red had a booth showing their flagship: a carbon fibre Epic with 6k Dragon sensor, which shaves off 1 pound of the camera weight. Red showed the possibility of using a RED camera for still photos.

GoPro and  DJI Quad Copters exhibited for the first time at CP+.

One corner was reserved for the JCII Camera Museum, which showed a variety of film based cameras of different formats and with some very long lenses.

Text and Photos by Dorian Weber, Tokyo

Click on first image for slideshow:

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BSC Expo – Images Added

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The 2014 BSC Expo was held at Warner Bros Studios in Leavesden, near London, on January 24 and 25. This year, the Expo hosted around 2.500 visitors—up from last year at Pinewood.

Attending the Expo was also an opportunity to visit part of the newly restored Studio. The facility was a historical WW II airfield and Rolls Royce aircraft factory. The studio was home to “James Bond (GoldenEye)” in 1995 and all eight “Harry Potter” films through 2010. The factory used as a studio was so enormous that crews joked it had its own weather system (icy cold in winter, wind howling inside). Warner Bros spent over $140 million renovating it into a modern film and television studio complex. With a quarter million square feet of stage space, it competes with Pinewood and Shepperton.

This Expo was a compact show with around 80 exhibitors from the UK, Germany, France, Italy, Spain, Japan and USA—with cameras, lenses, supports, lights, audio, VFX and possible pre-NAB products. BSC seminars were held in the Expo theatre.

IMAGO President Nigel Walters, BSC told FDTimes “The BSC Expo of 2014 at Warner Bros Leavesden Studios will be remembered as the Vittorio Storaro Show.  The British launch of his magnificent book “The Art of Cinematography” was an unqualified success. The overflow audience was fascinated for over two hours by his exposition on visual storytelling and the importance of the image.”

In his introduction to the man regarded as one of the ten most important Cinematographers of all time, the IMAGO President praised the vision of some of the great Italian Cinematographers, Vittorio Storaro, ASC, AIC, Giuseppe Rotunno, ASC, AIC, and especially Luciano Tovoli, ASC, AIC of the AIC (Italian Society of Cinematographers) by inspiring the Societies of Europe to create IMAGO.

“The homage created in this fine book ‘The Art of Cinematography’ is itself a tribute to the 150 great Cinematographers featured in its pages. It is also a tribute to the passion of its creator Vittorio Storaro.”

Almost an hour prior to Storaro’s conference, all 50 seats of the seminar theatre were taken and at least 60 people stood around the 3 time Academy Award winner (“Apocalypse Now”, “Reds,” “The last Emperor”). For over two hours, the crowd of young cinematographers, operators, students from film schools and enthusiasts, listened in total silence, eager to hear this Master of Cinematography explain in detail the meaning of his philosophy of light and color, inspired by Goethe’s theory of colors; and stimulated by Caravaggio’s unique vision of light and chiaroscuro shadows.

Before the screening of a special video on the phases of his extraordinary creative career – produced by the American Society of Cinematographers for Storaro’s Lifetime Achievement Award – he talked about his  graduation in 1960 from the Italian Film Institute (Centro Sperimentale di Cinematografia) followed by his first film as cinematographer on Franco Rossi’s “Giovinezza Giovinezza”. Storaro talked about when he met Bernardo Bertolucci with whom he made “The Conformist”, “Last Tango in Paris”, “1900”, “La luna”, “The last Emperor” “The Sheltering Sky” and “Little Buddha”. Anecdotes on his relationship with the directors he worked with and technical details on his cinematography on “Apocalypse Now”, “Reds”, “Dick Tracy”, “Tucker”, “One from the Heart”, “Bulworth”, “Tango” and “Goya in Burdeos”, “Flamenco” “Caravaggio” and operas as “Traviata” and “Rigoletto” all the way to his recent “Mohammed” directed by Majid Majidi and shot in Iran.

He then presented his latest book “The Art of Cinematography” which he decribed as “a great visual experience…a tribute to 150 Cinematographers from Cinematographers… that underscores the fundamental place of the Cinematographer in the creation of the Seventh Art.”

Bob Fisher wrote the text for 75 entries and Lorenzo Codelli, a well-known Italian writer and film critic, the other 75.  The book, published by Skira and Aurea, is in both English and Italian, and each entry is accompanied by a “double vision” image… a photo collage created by Storaro to represent the imagery in each film and a DVD. Daniele Nannuzzi, AIC and Luciano Tovoli consulted on the 3 year long project.

To end the presentation, he screened a very interesting thirteen minute video made by Daniele Nannuzzi that showed some original footage of the films illustrated in the book.

Later, Storaro was asked to sign several autographs and at one point a young camera operator asked him: “After Italian Neorealism, in Italy, what developed more– the art of cinematography or camera movement?” Vittorio stared at him in dismay… smiled, and asked him if he had any children. “Yes,” said the operator. “Well,” Vittorio said “to have a baby you need a man and a woman and in filming it’s the same… to make a film you need Cinematography and Camera moves, the two are one and cannot be separated….”

We took a slow stroll around the booths and saw the RED Dragon on display, working in 6K, wireless focus and zoom and touch-control monitors. The Amira from ARRI. The Panavision motorized camera axis and their new Primo V Series, ARRI/ZEISS Master Anamorphics, Cooke’s new Anamorphic primes and the Angenieux 25-250mm PL DP Lens; the Mini Libra head from Camera Revolution, and the MoVi — the miniature remote stabilised Head that can be mounted on bicycles, motorcyles or hand held.

Tiffen presented their Diffusion Test Film showing their 4K Diffusion tests. The tests included a series of comparisons of many varieties of Tiffen diffusion, fog, smoque and other filters. The screen was “split” to show with and without filter on two models.

Servicevision showed a split screen test image with or without the stabilization on their new Scorpio Head.

Another attraction was the iDailies Lab and transfer booth. iDailies, in cooperation with Kodak, is one of the only two companies processing film and original negative in the UK.

Transvideo, cmotion, Dedolight, Vitec Group, Ronford-Baker, Sony, Schneider, K5600 Lighting, Codex, Steadicam, Lee Filters, Panalux, Lite Panel, Octica Professional displaying Cartoni, Mole Richardson, Matthews were among the other exhibitors of this successful BSC Expo.

Cooke Optics

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Tour of Cooke Optics (Leicester, England) and a look at the team designing and building Cooke lenses and the new Cooke Anamorphic primes — coming in our NAB edition.

Photo (low rez jpeg) above: Cooke 2x Anamorphic 40mm on Sony A7R.

 

 

ARRI Amira $39.9K

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As expected, ARRI announced the price of Amira cameras today.

The camera with viewfinder base price is $39,999.00.

A large and varied list of accessories and options allow the camera to be customized. The Amira, in case anyone missed the demos at IBC and elsewhere, is a documentary-style, shoulder-resting, 35mm HD and 2K camera. The ergonomics are superb, remind me of the 16SR, but are even better with sliding, balancing top and base, and all kinds of custom-configurable ways to shoot.

There are three camera configurations to choose from, depending on the software:

  1. The “entry-level” AMIRA has Rec. 709 ProRes 422 HD recording up to 100 fps.
  2. The “middle model” adds Log C, ProRes 422 (HQ) to 200 fps, in-camera grading , pre-record function, etc.
  3. The “top of the line” software set  adds ProRes 4444 and 2K up to 200 fps, as well as color control on set and in post with custom 3D LUTs.

It’s almost like buying a new Mac Pro or Mercedes. After you decide on software, you pick the ergonomic package:

  1. Lens mount (PL, etc)
  2. battery mount (Anton/Bauer, V-mount)
  3. bottom plate (shoulder pad, flat, etc.)

Delivery is expected after March 2014.

Call your local ARRI dealer for full details and prices. Like they say in the TV commercials, “Operators are standing by.” Camera Operators too.

 

(Photo above: ARRI Amira with Fujinon Cabrio zoom lens)

 

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International FDTimes Online

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Film and Digital Times February 2014 Double Issue 58-59 is now online and ready to download for subscribers.

Here is the introduction — also available in the free preview:

 

Above, Below and Bottom Line

The Business of the Business

The phone rang. “Mr. Starr on the line.” My pulse quickened to 120 fps. Maurice Starr, studio chieftain and latest tycoon, is a constant critic of Film and Digital Times.

The barking began, “Whaddaya, whaddaya got—delusions of Dickens? Are they paying you by the pound of paper? Just give me two pages of coverage so I don’t have to read the rest.”

Monty is accustomed to summary. The scripts upon which his head rests are covered, SUMMARIZED! by a squadron of readers.

News from the Times, FDTimes, Hollywood Reporter, and Variety is culled by a team of interns who cut, with SCISSORS! and paste the headlines on sheets of paper.

The usually predictable Hollywood weather is reduced to a one-liner by Driton the driver, “Nice day today, sir.”

Box office, studio fortunes and the latest disasters are dispatched perfunctorily. Tycoons like Starr have little time for 80 pages of wisdom on the technique and technology of the business. Tycoons are interested in getting down to the business of the business.

This nascent column was conjured up during a subsequent phone call from Volker Bahnemann, my mentor with the most prescient predictions. He said, “How about writing something for film executives and business people? Executives and decision makers of our industry may base some of their investments and planning on your well informed writing. They depend on understanding the technology and trends that you cover.”

So, here’s FDTimes condensed coverage from the business of the business point of view. We remain neutral as the Swiss, names are respected, NDAs (Non Disclosure Agreements) are scrupulously protected, Off the Record comments are withheld, and idle speculation is avoided. Welcome to our newest addition to this edition: “Above, Below and Bottom Line.” I have included headlines for the job security of Maurice Starr’s scissor-wielding interns.

Sensors will get bigger

This is the year we will see more 24 x 36 mm sensors from the full frame DSLR world appear in digital motion picture cameras.

Multi format digital cameras

Format is the size of the image on the sensor—shown by the framelines and aspect ratio. (Format can also mean file type or compression format, like RAW JPEG, ProRes—but not now.)

The idea of multiple formats goes back to the beginning of film history. 35mm film was a universal standard for more than a hundred years. But many different formats were available within that standard. All you had to do was put a mask in the gate and change to a different groundglass. In fact, there are so many selectable film formats, they fill a 98-page online Ground Glass and Format Guide from ARRI and a 96-page guide from Clairmont Camera.

And not only 35mm. Want a larger format to get people away from their tiny home TVs and back into movie theaters? If it’s 1954 and you’re Douglas Shearer at MGM, Robert Gottschalk, president of Panavision, or Mike Todd, you call Kodak and get a commitment for 65mm and 70mm film negative and prints. Even earlier, 70mm film was used at the Henley Regatta in 1896 and the Paris World Exposition in 1900.

Cut to January 2014. We basically have 35mm digital motion picture cameras with aspect ratios of 4:3 (ARRI Alexas), 16:9 (Sony, Canon, Blackmagic, Nikon, GoPro, Phantom Flex 4K) and 2:1 (RED Dragon). Gaze into the haze of the tea leaves for NAB and IBC 2014. You are delighted if your cameras have sensors 18 mm high—which do not crop the huge selection of new anamorphic 2x lenses coming out. If your digital motion picture cameras are using sensors 13.8 mm high or less, your customers are probably beseeching you to provide cameras that will accommodate all these new anamorphic lenses. So, what’s a designer to do?

My guess is that rather than try to stretch a mere 3 mm more in height, there will be a leap directly to sensors with 24 mm height. After all, that’s a ready-made sensor size (24 x 36 mm) in the digital still arena, and there are millions of them being fabricated.

RED, of course, predicted the digital motion picture paradigm of DSLR technology at 24 fps and faster, with larger sensors, selectable formats, and increased resolution.

And what of the R&D departments in Munich, Hollywood and Woodland Hills? I look to 1954 and remember that history repeats itself. Formats even larger than those available to mere mortals are always intriguing. Mere mortals buy; Tycoons rent.

The most important thing about designing selectable format CMOS sensors, I think, is to accommodate the lowest common denominator. So if you are planning to put 16mm or B4 lenses on your camera, those formats should have at least HD capability. You then do the math up from there.

PL and PV Predominate (for now)

Lest these pronouncements produce dispepsia among lensmeisters in Leicester, Oberkochen, Wetzlar, Saint-Héand, and Saitama, they can take comfort in hearing that 95% of high end features and commercials are using PL or Panavision mount lenses on variations of the Academy format. But I wouldn’t be complacent. Read Dr. Winfried Scherle’s interview.

Things will get sharper

Jon Thorn of AJA writes, “Consumer electronic introductions often help define when an emerging technology is about to become a standard. While many Ultra HD/4K monitors were introduced at CES this year, perhaps more importantly, new content creation devices and content delivery services were also revealed.”

Mr. Maeda of Canon says, “Imagine if you had a baby today, you would think about the future of this baby, and you would want to record everything in 4K. Once we see a better picture, we don’t want to go back to a lower level. That’s what we saw with the Standard Definition to High Definition transition. Nobody today would want to see SD anymore.”

Bryce Button of AJA writes that the emergence of 4K and Ultra HD as primary capture sources for projects moving forward is well established today. This evolution makes a lot of pragmatic sense as the resolution available finally meets a digital alternative to the film negative that has been the cornerstone of media mastering for over a century.

Fastest Computers Win

In Who Owns the Future, Jaron Lanier writes, “In the past, a revolution in production, such as the industrial revolution, generally increased the wealth and freedom of people. The digital revolution we are living through is different.” Companies with the fastest computers and largest storage succeed. This will be true for cameras, post production, and delivery.

Omikuji

O-mikuji are fortunes written on strips of paper at Shinto shrines and Buddhist temples in Japan. Tengenjutsu is another form of divination, established in the Edo period by the Buddhist monk Tenkai, who served several Shoguns.

By the way, the provenance of 3 billion fortune cookies made in the US each year may be a bakery near a temple outside Kyoto, according to an article by Jennifer Lee in the New York Times. “The bakery has used the same 23 fortunes for decades. In contrast, Wonton Food in Brooklyn has a database of well over 10,000 fortunes.”

This edition of FDTimes is a tale of several cities: Tokyo and Kyoto, Jena and Oberkochen, Munich and Paris, New York and Hollywood, and many more places. Our journey begins in Japan, not to  dabble in divination, but to study the state of our art and learn about the state of production there. There were some surprises.

InterBEE  had been described as “a small, local show.” It turned out that this local show gets more than 30,000 visitors. Here in the land of Sony, Canon, Fujifilm and electronic giants, 40% of high-end production is still shot on film. There are 5 film labs running in Tokyo—more than any other city, I think. 98% of high-end digital motion picture production was done on a German camera, the ARRI Alexa, and more than 300 features were produced last year. Maybe this should not have been such a surprise. Many of the film production executives drove in German cars. The skilled optical workers at Canon and Fujinon lens factories are called Lensmeisters. There is a fascination with European brands and French food…and perfection.

 

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French FDTimes Online

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Just in time for the AFC annual Micro Salon in Paris, our 28-page FDTimes Special Edition in French  is now online and free to download. 28 Pages, 5.5 MB.

This and all French editions can be downloaded free: fdtimes.com/french

Cree LED Practicals

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I was looking for good LED practicals shaped practically like regular lightbulbs. Something to replace the venerable 75 watt tungsten 211 bulb inside a paper Chinese lantern without the thrill of fire hazard or incineration. And to replace the tungsten and CFL bulbs in the office and at home.

Jim Sanfilippo, President of NILA, makers of Zaila, Varsa, Boxer and SL, knows a thing or two about LED lighting and recommended Cree, Inc. He’s right. They look and act like their ancestors. Their light is good for film, video, and photography.

The Cree 13.5 watt TW Series Soft White LED Bulb provides the equivalent of a 60 watt tungsten bulb: 800 lumens, 2700 Kelvin, with a remarkable 93 CRI (Color Rendering Index.) Unlike some other household LEDs, The Cree TW bulb looks and is shaped like a traditional A-Type bulb. It strikes instantly, dims, and is rated for 25,000 hours–which is a lot more than our union minimum health eligibility hours.

At the moment, the TW Series of 93 CRI bulbs also comes in 40 watts 2700 K.

 

Their regular series A-Type 80 CRI bulbs come in 40 watts (2700 K), 60 watts (2700 or 5000 K) and 75 watt (2700 and 5000 K). There are also 65 watt (2700 K and 5000 K) Reflector photoflood style bulbs — and more products to come.

Home Depot sells Cree bulbs in  stores and online.

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Terre di Cinema in Sicily

 FESTIVAL & INTERNATIONAL MEETING ON CINEMATOGRAPHY 

“TERRE DI CINEMA” (Taormina, Sicily)

by Jacques Lipkau Goyard

As Federico Fellini once wrote, “In cinema, light is the idea, the feeling, the color, the depth, the atmosphere, the style, the narrative, the poetic expression. Motion Pictures are written by light.”

Light in Taormina, Sicily is extraordinary. As you look over the Ionian Sea from the city,  you can see far up and down the eastern coast of the island with its extraordinarily coloued landscape and nature.

Be sure to take your camera for you will want shots from several locations – the Greek open air theatre, Isolabella, Mount Etna’s volcano, and several side streets that lead to the edge of the bluff. The sun comes up on this side of Sicily, so early morning sunrises are just spectacular…and just the right time to enjoy a tempting almond-flavored “granita” with “brioche”, a semi-frozen dessert made from lemon and ice with a croissant that locals savor for breakfast.

This is what Vincenzo Condorelli sees and tastes every day when he visits “his” Sicily. Vincenzo, born in nearby Catania, has a Master of Arts in Filmaking from the London Film School. He is a member of A.I.C. – Associazione Italiana Autori Fotografia Cinematografica (the Italian Society of Cinematographers); recipient of the prestigious U.K. Kodak Student Commercial Award – Best in Brief; worked as a Cinematographer around the world, from Europe to Hong Kong, Africa, India to Brazil, the Middle East and South America, shooting motion pictures, commercials, television and documentaries.

He told FDTImes about his passion for Cinematography and his teaching experience that brought him, three years ago, to conceive “Terre di Cinema”, the International Festival and  Meeting on Cinematography. It takes place in Forza d’Agrò, a beautiful medieval hilltop town between the Peloritani Mountains and Mount Etna, at the monumental XVI century Monastery of Sant Agostino, a few minutes north of  Taormina, whose unique appeal and timeless beauty is described by Goethe in his Italian Journey.

2013 was Vincenzo’s third edition as Artistic Director of “Terre di Cinema”, held from September 1st to September 10th with the official support and cooperation of  of the Sicily Film Commission and MIBAC – Italy’s Ministry of Cultural Affairs, the AIC, Centro Sperimentale di Cinematografia (Italy’s national film school), and others.

This year, the Festival and Meetings were sponsored by leading brands, including: ANGENIEUX, ARRI Italia, AVID, CARTONI, D-VISION, JVC, PANATRONICS-ZEISS, TECHNOVISION…

The Sicilian Festival quickly became an international celebration of art and craft of Cinematography, attended every year by famed DPs, actors and members of the European motion picture and television industry.

But what makes this event unique is the original CineCampus, a fully immersive campus dedicated to students from prestigious international film schools. This year’s visiting guests came from Narafi – Luca School of Arts (Belgium), Tel Aviv University Film & Television Department (Israel), Estudio de Cine – Barcelona (Spain) and from Rome’s Centro Sperimentale di Cinematografia – Scuola Nazionale di Cinema.

Against a background of training, lectures, artistic and technical workshops, public screenings and meetings with Festival attendees; 18 CineCampus students under professional guidance teamed up in internationally mixed crews and shot 8 short films in Taormina and its superb surroundings.

The 8 CineCampus short films were inspired by some of the famous films that were shot in Forza d’Agrò, such as Francis Ford Coppola’s The Godfather trilogy or in Taormina like Michelangelo Antonioni’s L’Avventura, Luc Besson’s Le Grand Bleu or in Savoca, The Godfather, or Joseph Losey’s Modesty Blaise in Castello S. Alessio, and the Natural Park of the Alcantara River where Paolo Cavara shot Virilità.

The student crews were able to have their hands on some of the best professional equipment available today, such as the ARRI Alexa XT and L Series LED Lighting, supplied by ARRI Italia’s General Manager Antonio Cazzaniga (Festival supporter since 2011); while the camera supports, Chroziel matte boxes, SHAPE rigs, Cineroid lights, Angénieux’s Optimo Zoom 45-120mm came from CARTONI along with the Maxima, Focus and HiDV Fluid Heads & tripods and the JIBo with a Smart Head. Alessandro Pacifici and Stefano Gradassi from CARTONI attended the Festival and assisted the students throughout the shoot and workshops.

Riccardo Mangiarotti, Panatronics’ chairman and ZEISS dealer for Italy supplied ZEISS Compact Primes series, a 70-200mm Zoom along with a Sony F3 and F5. JVC provided the students with DT-V9L5 and DTE15L4 series monitors for onboard and postproduction.

The shorts were edited and postproduced on two Avid Media Composer 7 suites supplied by AVID with the assistance of Giuseppe Angilello (Sales) and Paolo Pastore (Editor).

Each of the sponsors held dedicated technical workshops and product presentations for the students and Festival’s attendees.

Sant Agostino’s Monastery hosted the screenings and the Q&A with the audience, while lectures and master classes were held in the modern conference room on site.  Technical workshops and exercises were performed in other areas of the structure. Sant Agostino also hosted the world première exhibit “Franco & Tonino Delli Colli, Cinema di Famiglia”, a tribute through an unreleased set of pictures (Delli Colli family archive) to a generation of Cinematographers who made the history of Italian and international cinema. 

The Festival’s interesting “New Cinematographers” section was dedicated to promising Cinematographers who distinguished themselves in major international film festivals. The “Masters of Light” section was a tribute to great Cinematographers of the pas, who left their mark in the history of cinema.

This year, the “Focus On” section was a retrospect on Israel’s film industry, and a perspective of its emergent Cinematographers.  Finally, the “Italian New Wave” section hosted a selection of the most interesting debuts in the Italian industry.

The Cinematographers and films in competition for the 2013 TERRE DI CINEMA – New Cinematographers Award were:

  • Guy Raz, Epilogue (Hayuta and Berl) (Israel, 2012)
  • Krum Rodriguez, The Color of the Chameleon (Bulgaria, 2012)
  • Juraj Chlpik, Dom (Cech republic, 2011)
  • Francesca Amitrano, Là-Bas Educazione Criminale (Italy, 2011)
  • Florent Herry, Jin (Turkey, 2013)

The 2013 Terre di Cinema Jury, formed by the students attending the CineCampus, assigned the New Cinematographers Award to Krum Rodriguez (BAC) for his remarkable cinematography. His film, The Color of the Chameleon was selected by the Academy of Motion Picture Arts and Sciences to represent Bulgaria for Best Foreign film in 2014.

“Masters of Light” this year was a tribute, beyond the exhibit, to legendary Cinematographer Tonino Delli Colli (AIC, ASC) and his cousin, Franco Delli Colli (AIC) who was Tonino’s trustworthy camera operator, before becoming a Cinematographer himself, with screenings and a seminar. Special guests were: Stefano Delli Colli, journalist and son of Tonino, Laura Delli Colli, Franco’s daughter and chairman of SNGCI, (Italy’s Union of Film Critic Journalists).

“Focus on” was held on the opening night of the Festival, focusing on the new Israeli Cinema screening (Italian premiere) of Ran Tal’s documentary Garden of Eden (Israel, 2012), with Daniel Kedem’s Cinematography. Lectures and debates on the new Israeli cinema were held by Dan Muggia, artistic director of the Pitigliani Kolno’a Festival, Italy’s Jewish Film Festival, official partner of TERRE DI CINEMA, with the patronage of the Israeli Embassy in Italy.

“Italian New Wave” proposed the most interesting Italian directing debuts of the season, with two screenings “Amiche da Morire” (Italy, 2013), directed by Giorgia Farina, Cinematography by Arnaldo Catinari (AIC), and “Itaker” (Italy, 2012) directed by Toni Trupia, Cinematography by Maurizio Calvesi (AIC). The screenings were followed by Q&As with the Directors and the Cinematographers, focusing on the relationship between the two on the set.

In 2014, TERRE DI CINEMA will take place from June 22 to July 6 and next year the Festival will be in partnership as a joint-venture with various events, highlighted by the “Nastro d’Argento” Ceremony (the Italian Oscars equivalent) to be held on June 28 at the Greek open air theater.

For more in-depth info on the Festival masterclasses, participants, videos, screenings and updates on TERRE DI CINEMA – FESTIVAL AND INTERNATIONAL MEETINGS ON CINEMATOGRAPHY please refer to:  www.terredicinema.com   and  www.vincenzocondorelli.com

Photos by Eva de Gols (NARAFI-LUCA School of Arts), Serena Capparelli and Vincenzo Consentino (University of Messina). Click on first image to see slideshow.

 

 

 

 

 

 

 

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Sony F55/F5 V3.0 Update: 16mm Mode

Sony F55 with ARRI/ZEISS Ultra 16 6 mm prime lens

Sony F55 with ARRI/ZEISS Ultra 16 6 mm prime lens

One of the highlights of Sony’s F5, F55, and AXS-R5 new Version 3.0 Update is the ability to shoot Super 16mm  format on the camera’s S35 sensor. There are countless 16mm lenses, zooms and primes. Many are languishing on shelves. Most are smaller and lighter than their 35mm cousins–and best of all, they have probably been paid for long ago. Since the F5/F55 cameras have a Super35 4K sensor, the smaller image diagonal of the S16 format occupies the sensor’s HD or 2K real estate comfortably. The new firmware crops and scales the image, similar to the process in a Nikon D800 that accepts both APS-C and full frame still formats.

This update may achieve the holy grail, long envisioned by Joe Dunton, Alfred Piffl, and many others of a practical Super16 Digital Cinema Camera. You don’t need 2x extenders (doublers) which lose 2 stops of light and reduce sharpness. Here are my preliminary calculations:

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December was the Waypoint on Sony’s F5/F55 Roadmap for Version 3.0 release. They are right on schedule, with a few days to spare.

Sony F5/F55 Update 3.0 includes more than 30 new features, including the Center Scan mode for Super16 just mentioned:

1. XAVC QFHD Recording
F55 supports XAVC QFHD, 3840 × 2160 recording. Supported frame rates are 23.98PsF, 25.0PsF, 29.97PsF, 50.0P and 59.94P.

2. MPEG HD 1280x720p recording
F5/F55  frame rates of 50.0P and 59.94P. Video output format is HD 1280 × 720p or SD signal via SDI outputs.

3. S&Q motion on XAVC 4K and QFHD
F55 gets Slow & Quick Motion when the recording format is XAVC 4K or QFHD at frame rate of 1 – 60 fps in 1 frame increments.

4. Additional S&Q frame rate in XAVC HD 1920 x 1080
In XAVC HD, available frame rates are 1-60, 72, 75, 80, 90, 96, 100, 110, 120, 125, 135, 144, 150, 160, 168, 175 and 180 fps when 23.98, 24.0, 29.97, or 59.94 is selected. And 1-60, 72, 75, 80, 90, 96, 100, 110, 120, 125, 135, 144 and 150 fps when 25.0 or 50.0 is selected.

 5. S&Q motion on XAVC 2K 2048 x 1080
F5/F55 does Slow & Quick Motion in XAVC 2K, 2048 x 1080 with same frame rates as XAVC HD, above.

6. Additional FPS on RAW recording
RAW recording frame rates: 1-60, 72, 75, 80, 90, 96, 100, 110, 120, 125, 135, 144, 150, 160, 168, 175, 180 and 240.

7. Center Scan mode on Slow and Quick motion
Choice of Center Scan mode or Full Scan mode in Slow and Quick motion for shooting above 60 fps.

8. Center Scan mode for Super 16mm lenses
Lets you can use Super 16mm lenses and record XAVC HD, XAVC 2K, SStP and 2K RAW. Image is scaled (you don’t see it as a window within the larger 35mm frame).

9. User definable clip naming

10. AES/EBU digital audio input
Digital audio input with AES/EBU format is available. Four channel audio inputs are available by two AES/EBU connectors.

11. RAW playback via F5/F55’s connectors
RAW output from the AXS-R5 attached to F5/F55 from SDI, HDMI and VF connectors on the PMW-F5/F55. Also selected MLUT is applied to RAW Playback signal.

12. Save and Load Lens file and Scene file via SD memory card
Up to 64 Scene Files and up to 64 Lens Files can be saved on an SD memory card. Saved files can be loaded to the internal memory.

13. Cine-EI on SxS recording
Cine-EI mode is selectable without AXS-R5. During SxS recording only, you can change Exposure Index.

14. New S-Log3 and S-Gamut3
Adjusted for digital cinema (DCI-P3).

15. User LUT, 3D LUTs – Look Profile
User LUTs (1D and 3D) are added for Monitor LUT selection. User LUTs are created with Sony’s RAW Viewer V2.1. Up to 6 User LUTs can be stored on the internal memory via an SD card.

16. Independent Monitor LUT

17. Auto Iris
Auto Iris for Sony FZ Zoom lens SCL-Z18X140, PL lenses that support Auto Iris, or Auto-Iris B4 lenses with Sony’s LA-FZB2 FZ-B4 Lens mount adapter.

18. 100% Marker
100% Frame lines.

19. Marker ON/OFF for each output
Frame lines can be turned On/Off independently in Viewfindfer and SDI/HDMI connected monitors.

20. Hi/Low Key function
Hi/Low Key function as assignable button to check clipped highlights and crushed blacks. Works with MLUT ON outputs.

21. Black Gamma function
To compensate gamma of low luminance scenes.

22. 2K/HD 59.94/50.0P RGB 3G-Dual output
At 59.94 or 50.0, an RGB 3G-Dual output (SMPTE ST424/425 Level-B).

23. Clip metadata output from SDI
File name information can be embedded in the SDI output for use by external recorders and on-set color grading tools supporting clip metadata.

24. Additional Menu items for Wi-Fi remote control

 

Version 3.0 Firmware Updates and Documents can be downloaded directly from the Sony website.

Read the fine print carefully: This firmware can be updated from V2.0, V2.10 and V2.11. When you want to update F55 and F5 from V1.22 and earlier, you must update to V2.0 first. For information about V2.0, see PMW-F55/F5 Firmware Version V2.0 Release notes (Oct 4th, 2013). F55/F5 must not be downgraded to previous versions after updating to V2.11.

In addition, when you update and use F55/F5 with AXR-R5, you must update R5 to V3.0 at the same time.